Friday, September 5, 2014
Right around the time Richard Wagner wrote the most Gothic and Black of operas, Tristan und Isolde, he wrote arguably one of the most life affirming, Die Meistersinger Von Nürnberg. Where Tristan und Isolde's themes and music centered around the triumph of death as the ultimate union of lovers, and was by far the most dissonant (and possibly revolutionary) piece at that time in music history, Die Meistersinger glorified (and attempted to emulate) the euphoric experience of love in this world, and was both predominantly consonant and intentionally mired in the traditions of old. Note here the intricate counterpoint; Wagner took the main themes in the opera and layered them in a way that would have made Maestro Johann Sebastian proud. And don't miss the glorious, exhilarating finish, he always knew how to end things with a dominating flourish.